This study aimed to examine the construction of the identity of the participants within the reality TV programmes (Style Her Famous, My Celebrity Home and How Do I Look) as well as examined the representation of that identity as reflected in the change in participants from the beginning to the end of the program. Drawing on literature from fields such as postmodernism and its influence on culture, identity constructions and ordinary people as celebrities, an analysis of the three American reality TV shows Style Her Famous, My Celebrity Home and How Do I Look was conducted. An indepth content analysis with specific reference to comparative analysis further aided this study. A total of 18 episodes (six episodes for each programme) were collected and thoroughly analyzed where the ‘cut and paste identity’ of ordinary people as ‘celebrities’ constituted the hermeneutical key of the study. The episodes and programs have been scrutinized and have been systematically classified to enable an analysis of the observations. This study attempted to not only describe, but also to foster change in the representation of the identity of the participants of the above mentioned reality TV programmes. The study found that reality television plays a role in shaping the postmodern identity of ordinary people as celebrities. The study also found that the participants involved in the above mentioned programmes found it easy to make someone else’s identity their own. It appeared that the postmodern mind is easily influenced and willing to adopt an identity especially that of a celebrity. The participants involved in these programs claimed this identity as their own and then believed that the new identity was in fact who they ‘really are’ but in actual fact it is a beginning of a new sameness with somebody else. Hence the participants possessed a ‘cut and paste identity.’

The availability to stream movies and series online has increased immensely throughout this decade, being reliant on freeing up time during your day to be able to watch your favorite tv-show has become less necessary due to the fact that you’re able to stream it whenever you want or can, once it’s been released. Reality television has been a big part of the tv tabloid for almost two decades now and it had it’s peak in audience during the years 2009-2012 and has been reportedly decreasing the following years. There has been little to none research regarding reality tv’s progression and audience recently, which has made us curious as to its current state. This article aims to research whether or not the interest in watching romantically themed reality tv has had a continued decline these recent years due to its lack of content variation and if its audience has gradually gone over to streaming it online rather than watching it on tv. We have studied three different reality shows views online and on television per episode during the years of 2015-2018. This way, we could add the views online and on television together to see if the view count in total has increased or decreased each year, as well as being able to compare the difference in views online versus views on television each year to see if the quota who streams has increased. Our hypotheses were met with matching results from our rese

Reality dating shows like "The Bachelor," "The Bachelorette," "Average Joe," "For Love or Money" and "Joe Millionaire" have recently attracted a growing number of viewers in the United States. As these reality dating shows pry into the most intimate corners of the lives of ordinary people, they have many people questioning their impact on society. However, there has not been extensive research on this subject. The purpose of the study was to examine the extent that exposure to reality television dating shows have on the cultivation of attitudes and perceptions of interpersonal relationships among college students in the United States. Exposure to reality television dating shows as measured by days viewed in an average week was found to be correlated with the acceptance of dysfunctional relationship beliefs. However, the effect of exposure was found to depend on the amount of perceived realism with the effect stronger for those who evaluated the shows as realistic. These results are more supportive of cognitive-functional theory, rather than cultivation theory. No effects of exposure were found on acceptance of unrealistic relational beliefs.

This thesis measures college students' attitudes toward, and the effectiveness of, brand placement in the genre of reality television. Surveys were used to discover the level of brand recall for the products and brands displayed in reality television programming and to discover viewers' reported reasons for paying attention to these brands. The study found that viewers tended to have positive attitudes toward brand placement in reality television and that focus on a brand was a major reason for recall. Furthermore, the study found no significant difference in the recall scores of reality television viewers versus non-viewers and no significant difference based on the perceived level of the reality of the programming.

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Appalachian people have faced stereotyping of their culture and region in popular culture, news media, and art for generations. For more than 150 years, images of the region have been extracted by outside media makers and disseminated widely, solidifying the “hillbilly” stereotype in the national lexicon. This study focuses on such images in reality television shows about Appalachia, and seeks to determine whether or not those images, and the proliferation of them, has an impact on the ways in which Appalachian people understand and accept their own culture.

Snapped, a documentary style show profiling female killers, is one of Oxygens longest running hit franchises. This thesis analyzes, through both the frames of feminist theory and rhetoric, the way the show perpetuates and plays upon the myth of feminine evil as well as the stereotype of women as weak, hysterical agents in need of control. Snapped showcases women who start out as seemingly normal but then enact horrendous crimes. The use of women that the audience can identify with but then later fear creates a cathartic experience in which female audience members can be vicariously cleansed of any dangerous animosity they may possess. The show portrays the many extreme examples as the norm for lethal female violence, but this disregards the fact that a majority of women killers act in self defense. The show distorts the reality of violence against women and supports a stereotype of inherent female criminality. / by Megan Tomei. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

An application of theory to various reality television shows in order to discuss the emergence and encouragement of the false self in our society is the focus of this work. Toddlers and Tiaras, Hoarders and Sister Wives are the three television shows that will be analyzed by using content analysis in order to examine the effects of consumerism, narcissism and the emergence of the false self. The limitless character of the economy coupled with narcissism and an increased focus on the self contributes to the development of the false self within the individual. People may not even be aware of the push to be narcissistic, focused on our own biographies and self-promotion, yet people are aware of their suffering and unhappiness. Many individuals are left questioning why it is that they are never completely satisfied even as they accumulate notoriety, success, material wealth and possessions. An ideology of greatness and being the best is found in so many avenues of our daily lives, and at times it can be overwhelming, and if we do not possess these skills and qualities we are encouraged to just fake it.

Romance reality programming has become a major player in the television field, with the most successful shows garnering huge ratings and massive audiences over the course of numerous seasons. But while the concept of finding love in a competitive environment on the national stage is new, romance reality TV programs seem to regenerate outdated stereotypes which work in a retrograde fashion to envisage love in traditional, pre-feminist heteronormative and patriarchal structures. Combining a background of literature on reality TV which gives insight to the manipulative tendencies of the industry; feminist scholarship on the acculturating and indoctrinating nature of classic fairy tales; and writings on the prevalence of postfeminist ideology that emphasizes self-surveillance/subjectification, the rhetoric of self-empowerment, and natural differences between the sexes, this thesis examines one of the most ubiquitous romance reality shows, The bachelor. Through the lens of nine tropes--beauty, passivity, marriage, victimization, vilification, romance rhetoric, gender roles, consumerism, and the male gaze--I analyze a full season of episodes, tallying the occurrences in each category. Using these tally numbers as general indicators and providing examples of each theme, I argue that the lessons conveyed to audiences by The bachelor and other romance reality programs bear a striking resemblance to classic fairy tales morals in which positive outcomes for heroines directly correlate to their perceived femininity, including conventionally feminine virtues like physical beauty, moral turpitude, and adherence to normative gender roles. The presence of postfeminism in the media contributes to making these outdated fairy tales themes seem congruent with female agency and empowerment by uncritically casting the failure to find love as a personal one. At the same time, men are placed in advantageous positions of authority and power, affirming the inevitability and desirability of patriarchal relationship arrangements. / text